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"24 City is composed of the memories of people who have lived or worked in a military airplane manufacturing facility named ‘Factory 420.’ This was a State Owned Enterprise (SOE) in Chengdu (Sichuan) that was once home to over 20000 workers, but in the film the factory is being dismantled in preparation for its redevelopment as a lavish high-rise office and apartment complex to be named ‘24 City.’ The film is structured around interviews with people who were either factory workers or their family members. Once the Maoist era’s leading figures, the worker class has now fallen in status and, like the factory in the film, has been made redundant due to the state’s economic reforms and adoption of a market economy. These interviews are recorded in the workers’ living, working and recreational environments, and many of the interviews are preceded or followed by information that enhances their historicity, such as intertitles that give further information about the interviewee (age, place of birth, and occupation), as well as their photographs and ID cards. During the interviews in this film, the interviewer is heard but never seen, and the camera seldom moves; rather, it focuses on the subjects’ faces and upper bodies, observing as they reminisce about their lives at the factory and recording the memories and emotions that unfold during this process. In the course of the interview, the scene may fade to black and then resume, but the camera remains a constant unmoving, watching eye, observing as the memories are slowly recalled, a form that allows the narrative and its accompanying emotions to slowly build." (Schultz, Corey K.N. "Memories in Performance: Commemoration and the Commemorative Experience in Jia Zhangke's 24 City," Film-Philosophy 20, no. 2-3 (2016): 267.